This generously filled
CD couples two fine performances from
near the end of Charles Munch’s association
with the Boston Symphony. (He was its
Music Director from 1949 until 1962.)
Though no information is given as to
the venue for the recordings it would
be very surprising if they did not emanate
from Symphony Hall, Boston. The sound
is pretty good for its age. There’s
quite a "big" sound reported
but I for one have no complaints about
sound quality.

No complaints about
the quality of the performances, either.
The symphony gets a generally strong,
forthright reading, though I don’t mean
by that that Munch is not properly observant
of the more relaxed, lyrical passages
in which this wonderful piece abounds.
For my money the gorgeous melody with
which the first movement opens is etched
just a touch too broadly but Munch is
still persuasive. In general his account
of the first movement is flowing and
spirited and this predominantly genial
music is put across well.

The adagio benefits
hugely from the famed richness of the
Boston strings. There is warmth in the
playing throughout but in the passage
from letter G to letter J in the score
(track 2, 6’10" to 7’11")
the music darkens, perceptibly so in
this reading. The scherzo has charm
and grace. The proud trumpet tune with
which the finale opens is projected
here with an unusually arresting confidence;
this is American brass playing at its
most incisive though to some it might
appear a touch strident. Thereafter
Munch and his Bostonians give a robust,
sometimes earthy performance but one
in which the renowned BSO polish is
never absent. It’s an often powerful
reading of the movement and some may
find it a bit too strong but I enjoyed
it as, indeed, I enjoyed the whole symphony.

The soloist in the
Cello Concerto is Gregor Piatigorsky
(1903-1976). He projects an assertive,
positive musical personality. From the
very start the orchestral introduction
is strongly conveyed, preparing the
way for the first solo entry very well
indeed. The famous horn solo, presenting
the second subject for the first time,
is ripely played. From his very first
statement Piatigorsky plays splendidly,
mixing virtuosity and poetry as the
score demands. He also receives first
class, responsive support from Munch
and his orchestra. When Piatigorsky
reprises the second subject (track 5,
5’43") there’s a wonderful inwardness
to his playing.

He’s equally successful
in the slow movement. In particular
there’s a real Slavic longing in the
opening paragraphs. Throughout the work
Piatigorsky’s tone is lovely, but never
more so than in this wistful yet passionate
movement. The finale is powerful and
both soloist and conductor realise successfully
the sweep and ardour inherent in the
music. Much of the movement is big and
extrovert. However, the meno mosso
before the end (track 7, from 10’18")
is an inspired touch on Dvořák’s
part and, as is the case with all the
other lyrical passages that have preceded
it in the work, Piatigorsky and Munch
deliver it with great feeling and no
little sensitivity.

If one was looking
for a first choice recording of either
work in isolation one might consider
alternatives. There is, for example,
Sir Colin Davis’s fine account of the
symphony with the Concertgebouw while
the Rostropovich/Karajan reading of
the concerto has rightly achieved classic
status. However, this coupling of two
of Dvořák’s
greatest masterpieces has the benefit
of convenience and I doubt that anyone
buying these fine performances is likely
to be disappointed.

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